Freemasonry, Architecture & Sacred Geometry 3.

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Presentation to the Western Canada Masonic Conference Sept/99 Banff Lodge
By RW. Bro. Victor G. Popow

Introduction

A stone mason was asked what he was doing and he said: “I’m laying stones.” In similar
manner another craftsman was asked what he was doing and he replied: “I’m building a great
cathedral,” the two responses represent a difference in perspectives. I challenge the speculative
Freemasons of today and similarly test their views. Most are busy ‘laying stones’, that is, engaged
in the labourious and necessary tasks- financial activities, dues structure, rent and per capita,
others concern themselves with charitable projects, some will say that they are concerned with
numbers and membership and are involved with marketing, advertising and opening Masonry’s
doors and still others will find enjoyment in the fraternity’s social activities. I am concerned that
none will reply that they are ‘building the cathedral’ or seeing the forest for the trees. How many
are truly committed to discovering the historical, philosophical or deep symbolic aspects of their
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Craft? The foundation of our Craft is its ritual and the information contained in it. The men of the
eighteenth century who fashioned that ritual were inspired by ancient knowledge and cultures and
it is this avenue we must pay particular respect to and promote interest in for therein lie the
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lessons of Freemasonry. Masons must escape their late 20 century paradigm’s and realize that
the seven liberal arts and sciences are not merely trite references to a secular education but
reflects an inner philosophical path, which may sponsor or inspire personal and hence social
transformation.

On Earth as it is in Heaven-Symbolic or Sacred Geometry

Medieval operative Masons or more suitably the architects themselves were well versed in not
only the ‘secrets’ of projective geometry and mathematics derived from Arab influence in Spain
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and via the 10 and 11 century European Crusaders but equally inspired by the numerical
symbolism of the Greek Platonists themselves inspired from the Pythagoreans. Thus it is today
symbolic numerical values permeate throughout Freemasonry- for example the numbers three,
five or seven- and we must ask ourselves what is the importance of these numbers and of the fifth
science or geometry? Why should the study of spatial relationships, a science that is quantitative,
be central to a fraternal society? It hardly seems to make sense. But if we should choose to
change our twentieth century paradigm from examining the quantitative value of numbers (1+ 1=
2, $, %) into one which focuses on the qualitative value (1 is the symbol of unity, 2 the divine split
into the male and female attributes etc., the symbolic meaning of 3, 5,and 7) of numbers then a
wholly new orientation begins to accrete. Then it would seem our understanding of the Craft
becomes a meditative and philosophical one. We must identify that our ancient brethren, that is
the ancient operative architects, were not only skilled in building structures but also skilled in the
speculative arts and paid equal attention to impregnating those structures with symbolism.

Sacred geometry is the exploration of this qualitative nature of number. It describes the
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proportions and ratios of physical structures or sites (Sacred geography ) which reflect universal
constants; a universal and heavenly language which clever builders reverently employed to speak
about God and His Universe. The foundation of sacred geometry figuratively rests on key
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transcendental mathematical theorems such as pi (π) and phi (φ) or the Golden Section . The
earliest Christians called the geometric figure of the vesica piscis (two intersecting circles of equal
diameter) the womb of the fish. The vesica is considered a ‘form generator’ considering all the
polygons which may arise from a succession of vesica constructions (see next page). The vesica
was also widely employed as a template for cathedral plans and as an aureole around the figure
of Christ in early representations.

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 The ancient Pythagoreans, for example, did distinguish between the practical and spiritual
meaning of numbers and to them everything was number. They believed that the universe was
imbedded with harmonic relationships, which governed everything from the motions of the stars to
the tones of the musical scale. The investigation of the meaning of numbers was not mundane
but rather spoke of relationships and patterns which could elevate the human spirit and bring an
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initiate closer to that which was Divine.

St. Augustine saw “in number an image of the absolute” which led him by investigation of
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number symbolism, to discover the mysteries of God that are set down in scripture. The ancient
Hebrews, Greeks, Arabs and Sanskrit alphabets all employed symbols which served as both
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numerals and letters- this is known as Gematria . For example the Hebrew word Adam doubles
as a symbol of the number 4. St. Augustine noted that man as a metaphor is a tetrad or man of
four, and Adam is composed of four letters, which represent the four winds. Thus he reasoned
that “knowledge of divine things is disseminated throughout the world by the four gospels,
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evangelists or beasts emblemized by the four extremities of the cross.” Letters, words, books,
buildings, all was symbolic and all intertwined in expression designed to inspire and lead a person
to divine contemplation.

The Royal Portal of Chartres Cathedral, c.1140 CE, displays Christ in the midst of the world
surrounded by four figures of an eagle, a lion, an ox or bull and a winged figure and are commonly
explained as symbolic of the four evangelists- St. Matthew (the winged figure), St. John (the
eagle), St. Luke (the ox) and St. Mark (the lion). In the Hebrew Talmud we find that “a pictorial
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emblem was engraved on the ensign of each of the twelve tribes of Israel.” The tribe of Judah
depicted a lion (the astrologic sign of Leo), Ephraim a bull (or Taurus), the tribe of Rueben a man
(Aquarius) and Dan an eagle (the sign of the scorpion equated with an eagle or in Egyptian
astrologic symbolism a serpent). The tribal symbols having interesting correspondence
to the signs of the zodiac and

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numeric equivalents; the lion being ascribed a numerical value of 5, the bull 2, the man 11 and the
eagle 8. Added together we find the values equal 26, the Kabbalistic numerical equivalent
representing the sacred name of Jehovah or God. These same four symbols may also be found
on the present day Freemasons United Grand Lodge of England coat of arms.

The symbolic cube, not unlike the inner chamber or Holy of Holies of King Solomon’s Temple,
which measured twenty cubits by twenty cubits by twenty cubits, when unfolded, reveals the
symbol of a cross. The cube is bounded by 6 equal faces, 12 equal lines and 8 external points,
which when added together equals the Kabbalistic number 26 or the number of God.

Throughout the world from one culture to the next architecture integrated with sacred geometry
and imbedded with astronomical characteristics has provided the world with structures which
inspire transcendence. One may find numerous examples: the Parthenon in Athens or the King’s
Chamber of the Giza pyramid (whose dimensions reveal the use of the formula phi) to the
Kabbalistic ground properties of King’s College Chapel in Cambridge, to the dimensional
properties and ratios of William St. Clair’s brilliant Rosslyn Chapel in Scotland and the Notre
Dame cathedrals throughout France- the use of sacred or symbolic geometry is global.

In Canada, we find 13 eighteenth century churches in Nova Scotia identified by retired professor
of Architecture Attila Arpat as exhibiting intriguing properties. According to Prof. Arpat these
buildings constructed by English and Scottish Freemasons “demonstrate sacred geometry and
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numerical symbolism.”

Below: geometric analyses of the Parthenon by Tons Brunes from his book The Secrets of
Ancient Geometry. It can be seen that the design is governed by the relationship between side
and diagonal in a series of squares with ratio of 1 to 1.25, therefore the entire proportional system
is based the relationship of √2 to 1.25.

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 In the city of Winnipeg, Manitoba, we find the Westminster United Church, at Westminster and
Maryland, which is so expressive in its design. The Architect and designer was Bro. John Russell
who served as Director of Ceremonies in 1918 and Manitoba Grand Lodge Secretary from 1935
to 1946. This structure has three, five and seven steps at its front entrance, the cornerstone is a
perfect ashlar, the auditorium shows the basic form of a Maltese cross and the most curious
feature, the rose window is not unlike the feature of Chartres cathedral in France. The window is
strategically placed so as to capture the sunlight perfectly at the summer and winter solstice (June
21 and December 21- in relation to the two Holy St’. John) so that light may fall directly upon the
Bible which lies upon the alter.

An important passage from Gematria by Bligh Bond & Lea entitled on Geometric Truth conveys:
“Mere words of natural significance fail to interpret spiritual ideas unless a figurative meaning be
added to them. By type and symbol alone can the essence of truth be conveyed. In myth and
parable the poet, prophet and religious leader in all time present to us the realizations of their
spiritual sense.

And not in the imagery of words alone, but in Architecture, and its allied arts, some of the most
sublime of human conceptions have been conveyed. Architecture has been the interpreter to
man of the Universal Truths, those which express the Mind and Works of the Creator, for
Architecture is the witness to the Formative principles which underlie Nature, and speaks of the
Immutable Foundations.

And these are expressed in the symmetry of geometric forms, co-related by Measure and
Number. Thus Architecture constitutes a higher language adapted to sacred uses.

Now in the Greek Gematria we have what may be termed the Architecture of Language, for the
Gematria unites both elements, both modes of expression, and in a wonderful accord, since
words are therein related in their sense to Number, by their Number to Geometry, and by their
Geometry again to Building. For all Building, whether of Words, Ideas, Figures, or Material
Forms, is founded on fixed proportionals which we have termed Aeonial, and these we study
under the name Geometry….Geometry is therefore a sacred study, the Language of the Great
Verities, and it follows that any language built upon Geometry will contain more than at first meets
the eye, and will be capable of a limitless power of expression, because its rational terms are
eternal in nature, and infinite.”

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Conclusion

The desire to create buildings founded upon sacred principles continues even today. Witness
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the resurgence and popularity of the ancient oriental science of Feng Shui in western
architecture. Despite popular trends we must ask why all of effort to impregnate symbolism in
structures? Why integrate mathematical, numerical philosophy with astronomic details or
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astrologic symbology? We may find answers in the past and in Masonic references. The forty-
seventh proposition of Pythagoras erroneously attributed to Euclid, is today symbolized as a
Master’s jewel, “if rightly understood, is not only the foundation of Masonry, but all proportions and
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dimensions whatsoever.”

The ultimate goal of the understanding and promulgation of Freemasonry is closely connected
to the symbolic treatment of number within its ritual but also in a more practical way to structures
and geographical features- for the ultimate benefit of uplifting the individual and society. As an
example, modern historians attribute the unprecedented building program of Cambodian god-King
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Jayavarman VII (ruled 1181-1219 AD) to megalomania yet his intent may have been more
altruistic. Temple inscriptions tell us that the King was ‘full of deep sympathy for the good of the
world’ and that his temples were part of a grand scheme to win the ‘ambrosia of existence’ for ‘all
of those who were struggling in the ocean of existence.’ So in fact the temples of Ankor Wat or
Ankor Thom (and perhaps even the Giza Pyramids) may not have been monuments to
megalomania but rather sacred instruments used to direct the human spirit.

Should modern day Freemasons be aware of these various elements? Of numerical philosophy
and sacred geometry in architecture? Many would say that what I have presented is too cerebral.
I know of some Grand Lodge Librarians who wince at the idea of such studies and most
Freemasons prefer to limit their investigations to more mundane topics. But if we look back, and
study ancient architecture, its philosophical symbology along with various connected subjects this
speculative avenue then becomes telling. And this particular speculative philosophy is exactly
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what drew the minds of early speculative Freemasons . These were the secrets of building- not
only of structures on earth, but these sciences were esteemed for the effects they had on the
human mind, a human alchemy, which focused on the transmutation of the human spirit.
Freemasonry will simply devolve into another social society if we choose to disregard what
enlightened builders understood, the meaning of sacred principles which serve to focus the mind
and spirit. The architects of old built with reason and purpose and nothing was accidental. It is
my belief that the study of the practical and symbolic subjects of sacred geometry and architecture
is entirely central to Freemasonry and we must not let this knowledge vanish. These various
subjects fold into one another and form a grand scheme which allows us to penetrate the true and
divine mysteries of self, of nature and of the Great Architect. And there could be no more
interesting or important journey.

“Before all else, get thee knowledge”

King Solomon

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 Above: reproduced from Jesus the Master Builder by Gordon Strachan
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Footnotes
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“What Freemasonry is all About!” by V. W. Bro. Rev. Neville Cryer. From Speculation, the 1995
North American Lecture Tour collected papers. Bro. Cryer, world renowned Masonic lecturer,
author and Past Master of the Quatuor Coronati Lodge of research #2076 in London, England,
explained that Freemasonry was not about charity, though it was an activity; not about fraternity,
that is dinners, guests, and socializing, though that too was prevalent and important. It was not a
‘code of life,’ a religion or a replacement for religion, though morality is certainly pervasive through
its ritual. Bro. Cryer described “Freemasonry as a heartfelt sharing, by men who have their own
personal religious and moral convictions, of certain insights into the nature of existence [italics
mine]. It can only communicated by ancient and agreed formulae, that require careful
memorization and constant meditation.” He further commented that Freemasonry was designed
to “form and stimulate the minds and hearts of men.” In addition the recently published remarks
of R.W.Bro. Michael W. Walker, Grand Secretary of the Grand Lodge of Ireland reveals the same
thought. In Freemasonry in Society- Today and Tomorrow (AQC Vol. 110, 1997, pp.107) he
writes: “the purpose of Masonry is ‘self-improvement’- not in the material sense, but in the
intellectual, moral and philosophic sense of developing the whole persona and psyche so as, in
the beautiful and emotive language of the ritual, ‘to fit ourselves to take our places, as living
stones, in that great spiritual building, not made by hands, eternal in the Heavens.”
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The common and widespread view, which asserts that speculative Freemasonry evolved solely
from operative Masons, the Transition Theory, has for several years not been seen by Masonic
scholars as complete. Masonic scholars have always been perplexed as to why gentlemen and
even aristocrats would wish to associate with tradesmen or stone masons. Bro. Trevor Stewart,
member of the Quatuor Coronati Lodge of research put forward the question: “The Craft would
hardly have attracted and continued to retain the interest and affection of such inquiring minds as
these if the intellectual and spiritual content of the lodges ’usual activities had been banal.” It
would certainly seem that the origins of speculative Freemasonry are a result of the convergence

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of many influences. I would refer to this then as the Convergence Theory of the Craft. It is
probable that modern day Freemasonry was the evolutionary outgrowth of: Neo-Platonism; the
Hermetic and Kabbalistic streams of the Renaissance; the Knight’s Templar and their sponsored
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craftsmen the Compagnonnage or Sons of Solomon; the 14 & 15 century Rosicrucian societies;
and the monastic orders of the Benedictines, the Cistercians and the Gothic building schools such
as the famous Cathedral School of Chartres.
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As of late investigators have seen correspondence between the geographical arrangement of
structures and astronomical features. Author Jean Richer in his Sacred Geography of the Ancient
Greeks, Astrological Symbolism in Art, Architecture, and Landscape demonstrates the manner in
which temples were positioned and aligned. Having identified that the Grecian landscape was
divided into twelve parts with the sacred site of Delphi as the centre Richer studied in detail and
came upon startling conclusions. Richer writes: “The work of P. Saintyves, Deux Mythes
evangeliques: les douze apotres et les soixante-douze disciples (1938), contributed some
important information. On the question in general, he wrote: The influence of the stars in the sky,
and especially of the twelve signs that mark the path of the moon and the sun, could be arranged
as a reflection of the heavens. The division of a state, population and territory, into twelve sectors
was an expression of reverence for the gods of the zodiac, the twelve great celestial deities, and it
would surely attract their blessings. That this was true in Chaldea, at least towards the year 2000
BC can hardly be doubted.” Other notable examples of sacred geography include the Giza
pyramid complex which mirrors the constellation of Orion; the Temple of Ankor Wat in Cambodia,
built in 1150 A.D, copies the constellation of Draco in its physical ‘true north’ site alignment and
arrangement of its structures. The entire temple complex is encoded with the processional
number 54 and the central temple lines up perfectly with the spring equinox when the day and
night are of equal length; the geographical pattern of the Notre Dame cathedrals (Reims, Amiens,
Chartres, Evreux and Bayeux) reflect the star constellation of Virgo; the temples and sites of
Central and South America, for example the Mayan city of Uxmal which is a terrestrial model of
the constellation Aries (The Zodiacal Temples of Uxmal, 1921) and the famous Nazca lines which
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are increasingly being thought of as representations of constellations in the Milky Way (The 15
Annual Meeting of the Society for Scientific Exploration 1996).
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The Golden Section (φ) is a very unique ratio and is defined as “the ratio between the greater
and smaller part is equal to the ratio between the whole and the greater part.” It governs the
relationship between the human body, all animals, plants and the pattern of growth for all living
things.

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“The tetraktys is a Pythagorean construct attributed to its inventor Pythagoras. Forming an
equilateral triangle the sequence of numbers are formed in rows with a total of ten numbers.
From this construct may be derived the four sacred studies of quadrivium (from the four levels of
the tetraktys: arithmetic, the study of number 1+2+3+4 = 10; the study of music which is the study
of ratios. The ratios 1:2 (musical octave; geometrical proportion); 2:3 (musical fifth; arithmatic
proportion), and 3:4 (musical forth; harmonic proportion) form the elements of what is known as
the Pythagorean ‘music of the spheres;’ the study of geometry-length, width and height; the forth
study is that of astronomy, the study of three-dimensional objects in a forth dimension or motion in
space-time. However each of the four studies led to a fifth or transcendent science or that of
dialectic, the study of the metaphysical realm of ideas and the bond uniting all the previous
studies.”

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What Number is God? Metaphors, Metaphysics, Metamathematics and the Nature of Things by
Sarah Voss, p.76.
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Gematria- “ About the fifth century BC there began to appear in the Syro-Phoenician centre east
of the Mediterranean, traces of a mode of writing in which the letters of the alphabet serve also
the purpose of numerals. Though coming from this centre, the origin of the method is not
believed to be Phoenician but to traceable to more eastern source. From this parent influence two
systems are derived. These are the Greek and Hebrew. Both systems attained a high degree of
development about the third century BC. Both languages are constructed with great skill, and are
evidently the work of highly instructed men animated by a clear purpose. Though compiled from
older and far less perfect material, they represent something far more than the natural evolution of
that material. They show system, but they also show peculiarities, sometimes having the
appearance of intention, for which no adequate reason has yet been offered. Their alphabets,
which are also numbers, exhibit unexplained features, some of which may be described as
mysterious. It is scarcely reasonable to suppose that the element of chance has in any
appreciable degree entered into their framing. And this is the more unlikely in that there is
evidence of a contrary belief among these peoples, who showed a peculiar reverence for their
alphabets, ascribing to each letter its own mystical value, and, to the whole, a body of symbolic
teaching in which the principles of number, sound, and also form as connected with each letter, all
played their part.” From Gematria, a Preliminary Investigation of the Cabala by Bligh Bond & Lea.
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Medieval Number Symbolism: Its Sources, Meaning, and Influence on Thought and Expression
by Vincent Foster Hoppier, p.84.
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The four evangelists were Christian inventions based upon the far older Hebraic ensigns of the
tribes of Israel and “the four archangels of the God Most High” found in the Book of Enoch,
Michael, Raphael, Gabriel and Auriel.
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Secret Numerology and Geometry in the Churches of Nova Scotia by Attila Arpat, Nova Scotia
Historical Review, Vol. 14, No. 1, 1994, p.79.
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Feng meaning wind and Shui meaning water, a 6000 year old Chinese philosophy of living in
harmony with the environment. The most recent examples of Feng Shui architectural design may

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be found in the new British Airways Corporate headquarters at London Heathrow and the new $1
billion dollar J. P. Getty Museum in Los Angeles.
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Recently writer David Ovason in the newly published The Secret Zodiacs of Washington DC
explores the very deep meaning of the city plan of Washington DC designed by eighteenth &
nineteenth century Freemasons. Ovason has located over 20 central astrologic representations
throughout the centre of the city- and over a 1000 images in the city itself- each pointing to an
extraordinary mystery. He explains the dominant astrologic sign of Virgo (with its corn-sheaf
symbol which every Mason will have identification with), a sign of nourishment, along with the sign
of mercury and the caduceus, inspiring commerce and communication are entirely appropriate for
a nations capital.
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Appendix to the Mason’s Pocket Companion, Edinburgh, 1761, p.42.
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Who throughout his 38 year reign built continuously the Temples of Ankor Thom, Ta Prohm,
Bantei Kidei, Neak Pean, Ta Sohm, Srah Srang, Krol Kro, Prah Palilay, Prasat Suor Prat, Prah
Khan, Bayon.
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Engineer Robert Bauval in his well written The Orion Mystery states that the people who built
the pyramids at Giza were “magicians who knew their symbols- and that with the right symbols,
with the right questions- they can lead you into initiating yourself. Provided, that is, you are a
person who asks questions. And, if you are, then the minute you start asking questions about the
pyramids you begin to stumble into a whole series of answers which lead you to other questions,
and then more answers until you finally initiate yourself…They were magicians because they knew
the power of ideas..they knew how to set ideas growing and developing in people’s minds…”
Bauval asserts that the Giza necropolis was built to provoke questions, “The minute you ask a
question about engineering, you’ve asked a question about geometry, you’ve asked a question
about astronomy. It forces you to learn about engineering, geometry and astronomy, and gradually
you learn how sophisticated it is, how incredibly clever and skillful and knowledgeable its builders
must have been, which forces you to ask questions about mankind, about human history,
eventually about yourself too. You want to find out. This is the power of the thing.”

Further Suggested Reading

A Beginners Guide to Constructing the Universe by Michael S. Scneider
Heaven’s Mirror by Graham Hancock & Santha Faiia
Sacred Architecture by A.T. Mann
Sacred Geometry, philosophy & practise by Robert Lawlor
Sacred Geometry by Nigel Pennick
Sacred Geography of the Ancient Greeks by Jean Richer
Serpent in the Sky by John Anthony West
The Art and Architecture of Freemasonry by James Steven Curl
The Secret Language of the Stars and Planets by G. Cornelius & P. Devereux
The Orion Mystery by Robert Bauval & Adrian Gilbert
The Secret Zodiacs of Washington DC- Was the City of Stars Planned by Masons? by David
Ovason
The Mysteries of Chartres Cathedral by Louis Charpentier
The Byrom Collection- Renaissance Thought, The Royal Society and the Building of the Globe
Theatre by Joy Hancox.
The Temple of Man by Schwaller de Lubicz

The Vitruvian man, composition

by Leonardo da Vinci. Man is the
measure of all things. The circle

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represents the divine, the square
symbolic of the earth or material
world.

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